Popular song in America, part 2: the influence of Italian opera




At first glance, the performance of Rossini’s Il barbiere di Siviglia (The Barber of Seville) in New York on November 29, 1825, seems to have little to do with popular music. It marks the first American production of any opera in Italian, or indeed any other foreign language. (New Orleans had a long tradition of presenting opera in French, but then it was originally a French city and remained largely French in culture long after the United States acquired it. Opera in French there hardly counted as a foreign language.) Actually, it affected American popular music almost as much as … Continue reading

An ear for music




Lest anyone doubts that Rossini’s music was once deemed contemptible by lovers of classical music, English publisher Vincent Novello visited Europe in 1829 with the hope of hearing good music (specifically Mozart) in the land of its birth. He was disappointed. In Mannheim, he noted in  his  journal, “Heard Rossini’s Overture to “Barbiere de Siviglia” on the Piano Forte. . . I should have preferred hearing something by their celebrated townsman John Cramer, but sterling music appears to be at a very low ebb here, . . .” In Vienna, he wanted to find Beethoven’s last residence, and was upset … Continue reading

Would a university hire Mozart?




I have no idea where the following letter came from. Someone forwarded it to me on email years ago. Now that I’ve found it again, it’s too good not to share. March 15 Dear Dean X: I write in response to your suggestion of an appointment to our faculty for a Mr. W.A. Mozart, currently of Vienna, Austria. While the Music Department appreciates your interest, faculty are sensitive about their prerogatives in the selection of new colleagues. While the list of works and performances that the candidate submitted is undoubtedly a full one, though not always accurate in the view … Continue reading